Overview
For six years Maya Stovall staged Liquor Store Theatre, a conceptual art and anthropology video project---included in the Whitney Biennial in 2017---in which she danced near the liquor stores in her Detroit neighborhood as a way to start conversations with her neighbors. In this book of the same name, Stovall uses the project as a point of departure for understanding everyday life in Detroit and the possibilities for ethnographic research, art, and knowledge creation. Her conversations with her neighbors-which touch on everything from economics, aesthetics, and sex to the political and economic racism that undergirds Detroit's history-bring to light rarely acknowledged experiences of longtime Detroiters. In these exchanges, Stovall enacts an innovative form of ethnographic engagement that offers new modes of integrating the social sciences with the arts in ways that exceed what either approach can achieve alone.
Full Product Details
Author: Maya Stovall
Publisher: Duke University Press
Imprint: Duke University Press
Weight: 0.680kg
ISBN: 9781478010098
ISBN 10: 1478010096
Pages: 328
Publication Date: 20 November 2020
Audience:
Professional and scholarly
,
Professional & Vocational
Format: Hardback
Publisher's Status: Active
Availability: In Print 
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Table of Contents
List of Illustrations ix Foreword / Christopher Y. Lew xiii Prologue 1 Introduction 25 1. Liquor Store Theatre, Vol. 1, No. 1 (2014) 47 2. Liquor Store Theatre, Vol. 1, No. 2 (2014) 58 3. Liquor Store Theatre, Vol. 1, No. 3 (2014) 70 4. Liquor Store Theatre, Vol. 2, No. 1 (2015) 76 5. Liquor Store Theatre, Vol. 2, No. 2 (2015) 87 6. Liquor Store Theatre, Vol. 2, No. 3 (2015) 99 7. Liquor Store Theatre, Vol. 3, No. 3 (2016) 107 8. Liquor Store Theatre, Vol. 3, No. 4 (2016) 120 9. Liquor Store Theatre, Vol. 3, No. 5 (2016) 133 10. Liquor Store Theatre, Vol. 3, No. 6 (2016) 156 11. Liquor Store Theatre, Vol. 3, No. 7 (2016) 165 12. Liquor Store Theatre, Vol. 4, No. 1 (2017) 178 13. Liquor Store Theatre, Vol. 4, No. 2 (2017) 187 14. Liquor Store Theatre, Vol. 4, No. 3 (2017) 202 15. Liquor Store Theatre, Vol. 4, No. 4 (2017) 211 16. Liquor Store Theatre, Vol. 4, No. 5 (2017) 217 17. Liquor Store Theatre, Vol. 4, No. 6 (2017) 224 18. Liquor Store Theatre, Vol. 4, No. 7 (2017) 233 19. Liquor Store Theatre, Vol. 5, No. 1 (2018) 247 Acknowledgments 263 Notes 265 Bibliography 287 Index 299
Reviews
“For [Maya] Stovall, how we know is the operative question. Through such a simple act, dancing on the sidewalk before these business establishments, she sparks so much one-on-one engagement that has led to long-term dialogues. It is through her performances that she is able to bring into relief what affects the lives of her community: the economic, racial, historic, political, social forces that shape the area's inhabitants and the built environment that surrounds them.” -- Christopher Y. Lew, from the foreword “Maya Stovall's wildly ambitious, experimental, poetic, and multimodal ethnographic engagement reimagines what the ethnographic encounter entails and demands while asking us to reconsider the very nature of scholarly research in urban America.” -- John L. Jackson Jr., Walter H. Annenberg Dean of the Annenberg School for Communication, University of Pennsylvania “An important contribution to the conversation on performance ethnography and the ethics of representing racialized bodies in urban space, Liquor Store Theatre is a singular type of immersion across ethnography, historiography, geography, and art.” -- Aimee Meredith Cox, author of * Shapeshifters: Black Girls and the Choreography of Citizenship * ""The interest many will find here is the unexpectedness and complexity of the lives she reveals. Residents share memories and discuss neighborhood changes, talk about their experiences with family and work, housing, shopping, education, transportation, and their understanding of the forces that have shaped their lives. These are individuals, not subjects, and Stovall offers the particularities that good storytelling requires. Once we are able to see them as individuals, the residents of McDougall-Hunt are hard to ignore."" -- Andrea Kirsh * Artblog * ""Stovall is an anthropologist by training, and this becomes abundantly clear in the first few pages of Liquor Store Theatre, which is meticulously researched and scintillatingly told. . . . The publication of Liquor Store Theatre therefore becomes a space to unpack the true depth of the project, as well as a site for exploring Stovall’s larger research methodology."" -- Alice Bucknell * Pin-Up Magazine *
An important contribution to the conversation on performance ethnography and the ethics of representing racialized bodies in urban space, Liquor Store Theatre is a singular type of immersion across ethnography, historiography, geography and art. -- Aimee Meredith Cox, author of * Shapeshifters: Black Girls and the Choreography of Citizenship * Maya Stovall's wildly ambitious, experimental, poetic, and multimodal ethnographic engagement reimagines what the ethnographic encounter entails and demands while asking us to reconsider the very nature of scholarly research in urban America. -- John L. Jackson Jr., Walter H. Annenberg Dean of the Annenberg School for Communication, University Of Pennsylvania For Maya Stovall, how we know is the operative question. Through such a simple act, dancing on the sidewalk before these business establishments, she sparks so much one-on-one engagement that has led to long-term dialogues. It is through her performances that she is able to bring into relief what affects the lives of her community: the economic, racial, historic, political, social forces that shape the area's inhabitants and the built environment that surrounds them. -- Christopher Y. Lew, from the foreword
For [Maya] Stovall, how we know is the operative question. Through such a simple act, dancing on the sidewalk before these business establishments, she sparks so much one-on-one engagement that has led to long-term dialogues. It is through her performances that she is able to bring into relief what affects the lives of her community: the economic, racial, historic, political, social forces that shape the area's inhabitants and the built environment that surrounds them. -- Christopher Y. Lew, from the foreword Maya Stovall's wildly ambitious, experimental, poetic, and multimodal ethnographic engagement reimagines what the ethnographic encounter entails and demands while asking us to reconsider the very nature of scholarly research in urban America. -- John L. Jackson Jr., Walter H. Annenberg Dean of the Annenberg School for Communication, University of Pennsylvania An important contribution to the conversation on performance ethnography and the ethics of representing racialized bodies in urban space, Liquor Store Theatre is a singular type of immersion across ethnography, historiography, geography, and art. -- Aimee Meredith Cox, author of * Shapeshifters: Black Girls and the Choreography of Citizenship * The interest many will find here is the unexpectedness and complexity of the lives she reveals. Residents share memories and discuss neighborhood changes, talk about their experiences with family and work, housing, shopping, education, transportation, and their understanding of the forces that have shaped their lives. These are individuals, not subjects, and Stovall offers the particularities that good storytelling requires. Once we are able to see them as individuals, the residents of McDougall-Hunt are hard to ignore. -- Andrea Kirsh * Artblog *
Author Information
Maya Stovall is Assistant Professor of Liberal Studies at California State Polytechnic University, Pomona, and an artist whose work has been exhibited and performed at institutions and events throughout the world.
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